#sourceabled

[whatbigotspost]

Fun fact!!!! Treating employees well is almost always objectively “good for business”

IF

your indicators of “good for business” are basically any indicator OTHER than “the owner’s unfettered greed and unquenchable lust for more money.”

👍.

[angstics]

my plan (with hopes to automate as much as i can): download all magazine articles, digital articles, videos, books, podcasts related to mychem. put Everything in OCR readers, find transcriptions, use website parsers, ai transcribers -- seperated by source. Edit All The Above (this may never happen). save all the above on a hard drive. release into a public archive. everything that ever has been known about mychem will be both searchable and sourceable. THIS IS THE DREAM!

the funny thing is that i dont really care to engage with all this. the last time i watched a mychem interview was in 2022. it's A Lot of fluff, with some interesting-to-life-changing tidbits. but i like a project!

[moonpool-system]

is CDD a newer term? Ive never heard of it, what does it stand for? /gen

Heyo! totally understandable; basically, CDD is a term that got lifted from some old medical papers, and recently came into circulation to replace having to say "DID/OSDD/PDID/UDD" to encompass people with a system-related dissociative disorder. It stands for "Complex Dissociative Disorder" and it works as both an umbrella term and a term for disordered systems that don't wish to elaborate on the specifics of their disorder (like us).

You might see some discourse surrounding what qualifies as a CDD, but that is extremely recent (like within the past couple weeks) discourse stemming from very traceable, sourceable lies. CDD was meant (when brought into the community) to work as a quick differential for disordered systems, since ones origin is only tangentially related to whether or not one experiences disordered functions. Someone may be traumagenic but not disordered, or endogenic but outside factors turned their system dysfunctional, or any other array of things. CDD is a term meant to refer to disordered systemhood while remaining divorced from the concept of origin.

I'd go digging for sources and give even more details but I honestly just woke up after a real blurry night so I think I'll post this as-is unless somebody really really reeeeeeeeeally wants me to go unearth the sources like a small rodent /lh

Hope this helps!

[rametarin]

You ever consider how awesome it is that some tech is now pedestrian?

Back in the 80s I used to imagine a future where technology was so accessible and cheap I could, if I wanted to invest some cash into it, have computer monitors in my room just to watch my door with cameras no bigger or visible than smoke detectors.

And now we have "spy cameras" that can give you the same definition of a 2010s phone cam.

And monitors thin as wood furnished portraits you can hang on your wall. Wireless.

Do you know how expensive such devices would be in 1980s money!? They wouldn't exist; they'd need billions of dollars of research. Not even the most wealthy of saudi oil men could've had a laptop computer that could wirelessly watch cameras, just local to their HOUSE.

When the idea of a personal computer was a pie in the sky dream, you'd have heard, "the wealthy capitalists and the upper class would never dare to give the masses that much access to power and education. They'd conspire to prevent it. It'd upset their carefully stacked deck of control and supremacy"

The truth is, that's not how it works. Stuff is expensive because we don't know how to make it cheaply and with a minimum of expensive, exotic resources.

That's why I click my heels together reading about really great batteries and artificially created magnets that can operate with supremacy compared to traditional rare earth magnets. Because it means, cheap, domestically sourceable material to make electric motors for electric vehicles, alleviation of range anxiety, and then that just means pumping up the level of fission reactors to meet electricity supply needs.

This is the sort of shit that's going to be everyday stuff in our garages, my dudes. Monitors thin as paper, recyclable as sheets of aluminum, with computers with hardware that doesn't require extremely limited multibillion dollar lithography equipment to manufacture parts.

[pluralmedia]

>Ange

It says it all in the "Abilities" & "Background" sections. There's even a picture of it. Ange does much the same as Maria does. If that's not enough to convince you, then let me ask: what is your definition of plurality?

Anon, we are NOT familiar with this series. If it uses odd vernacular to describe a plural experience we aren't going to notice it from the VERY DENSE wiki because of this.

There is no need to be rude and snippy.

It took multiple readings to locate the One sentence on the page that might indicate possible plural stuff going on due to the fact that this is, and we cannot stress this enough, NOT a fandom with lore we are familiar with:

Because of this, she was a lonely teenager, and escaped her harsh reality by reading Maria's diary and creating imaginary friends. Through this, she was able to create an illusory version of Maria, Sakutarou and the Stakes of Purgatory.

Are these imaginary friends autonomous? That would be a plural experience. Otherwise she is using magic to move puppets as far as we can tell here.

Everything else on the page indicates physical external entities she is interacting with as far as we are aware, and that eventually she properly summons the 'Stakes of Purgatory', which indicates external entities.

Maria, as far as we are aware from what we can decipher of the wiki, is projecting a headmate on a stuffed animal- the stuffed animal is not an external entity that only she can communicate with/see, he lives in her head and she is just having him talk 'through' something.

Checking the separate linked page there seems to confirm separate external created entities for these 'Seven Sisters'. So it seems she made imaginary friends, then later made her magic constructs templated after her imaginary friends? They are sapient, but they are separate-bodied and thus not a plural experience.

If these Seven Sister and the other imaginary friends are autonomous as imaginary friends and not the constructs templated from them, then yes, they would count, but the wiki doesn't have any indicators of this that we can see.

Anon you are going to have to explain how all this works if you want us to understand what the situation is here for us to know if it is canon plural.

Genuinely, we WANT to be able to include more plural characters, but we gotta be able to see that they qualify here and its not just headcanons or adjacent experiences/metaphor.

For definition of plurality: Being more than one in a body.

'more than one' is multiple autonomous entities in one body.

In one body, requires them to all use/be in the one body in some way. In fantasy plurality, that means they are IN or otherwise deeply anchored to the body too to some degree, not just a confirmed external ghost that only one person can see that wanders around the world.

Symptoms/traits of this may include material experiences of communication of some form or switching.

This is not a case of an exclusive plural definition as its the same as the most basic definition; this is a case of 'not familiar with the source material enough to say what is going on here and needing sourceable information on the character's experience.'

We are begging you anon, we would like to include more characters, so *show us* the information (sourcable in some way so we know its not headcanons) because we *cannot find it*.

If you cannot, then the matter is closed for now and she is going in maybe, sorry!

[talenlee]

Game Pile: Girl By Moonlight

Watch this video on YouTube

Script and thumbnail below the fold!

Girl By Moonlight! The much-awaited magical-girl genre based Blades in the Dark variant from Evil Hat games, made by Andrew Gillis (and a bunch of other people, don’t forget them). You know Blades in the Dark? No? Well, there are a bunch of other videos I’ve done about the game system, even when talking about other systems. The super brisk description is that it’s a fail-forward, fiction-first open-sourceable TTRPG that’s really good at driving stories based on their genre markers and the way stories in its vibe feel, with really good systems for breaking some of the ‘rules’ of tabletop RPGs, most significantly in who determines how players do things, and whether the flow of time is linear.

And it’s not.

It’s about magical girls! What are magical girls? Well, sometimes they’re magical and sometimes they’re girls, but also they’re not necessarily either of those things, even if they are magical girls. A magical boy is still part of the magical girl genre, because genres are dumb. Magical girl shows have a super interesting long form lineage that reaches back, no jokes, to the 1960s American sitcom Bewitched, and well at least that’s what TV Tropes tells me and why would they lie? Anyway, the genre isn’t something built out of a single high concept, but rather lots of individual signifiers that show a relationship within a space, and oh boy, we’ll get to that later, because there are more magical girl shows than you think.

Girl By Moonlight stakes a claim on this front real fast, by using a genre system to describe the type of game you’re going to play. Sure, you can start with the classics of the genre, your Universes Steven and your Moons of Sailor, but there’s also a genre form for the Dark genre of Magical Girls, like… well, Puella Magica Madoka. But we’re not done there, with the addition of space-faring, mecha-based magical girl shows, where people have mecha powered by love and friendship. This is your Escaflowne style magical girl story, where your feelings can change reality. And then there’s door number four, where we get a mix of conspiracy and cybermagic. If you know Lain, or Paprika? Those kinds of magical girls.

As I write this script, Girl By Moonlight is not out. Not out out. It’s out, in that if you go to backerkit and pledge to pay, you can get a pdf of its current state, and I think it’s a good deal. It’s a really high production value project as it is right now, at least by my standards. Consider all the time I spend reading indie TTRPGs off itch for this channel where I sometimes feel the need to bully a book for having a twenty page long index or having its character creation in the back half of the book. I recommend you check it out, if you are at all interested in Blades in the Dark hacks like Brinkwood and Scum and Villainy.

That opinion, however, is the opinion of someone who has a pretty healthy bookshelf – both digital and not – of RPGs I don’t ever expect to get to the table. I have no experience with putting Girl By Moonlight on the table, and I don’t intend to grab it because it’s a different lick of paint on a game I already know I like. There are plenty of those, and two of them at the top level of production, — Band of Blades and Thirsty Sword Lesbians — completely miss me because I don’t find the flavour of the narratives they offer interesting.

No, I want Girl By Moonlight for two important reasons:

I know a bunch of magical girls, and I hope they think it’s neat, and

It two-for-ones a problem I have with Blades in the Dark and neatly smacks out of the park the single biggest concern I have with the philosophical footing of a story ‘about Magical Girls,’ in how it handles Trauma.

Trauma in BITD

In the base game of Blades in the Dark, trauma conditions are a byproduct of accruing too much stress. When you take Trauma, you get one from the core list:

Cold: You’re not moved by emotional appeals or social bonds.

Haunted: You’re often lost in reverie, reliving past horrors, seeing things.

Obsessed: You’re enthralled by one thing: an activity, a person, an ideology.

Paranoid: You imagine danger everywhere; you can’t trust others.

Reckless: You have little regard for your own safety or best interests.

Soft: You lose your edge; you become sentimental, passive, gentle.

Unstable: Your emotional state is volatile. You can instantly rage, or fall into

despair, act impulsively, or freeze up.

Vicious: You seek out opportunities to hurt people, even for no good reason.

Now, these are all presented to you as trauma responses. So much so that if you play in a way that reflects your trauma, you get XP for it. These are incentivised choices for your character as responses to trauma, and uh…

like…

What if you were already haunted?

What if you already were a Leech with schizophrenia who heard voices, but was handling it? You didn’t get XP for behaving like you had schizophrenia, but if you do get it as a trauma and it starts causing problems for you, then you suddenly get XP for acting that way.

It’s not that Blades in the Dark doesn’t have room for someone who has these conditions to start with, but the only concern it has for people with these conditions are the ways they make you worse at your job, the way they represent a ticking clock on your overall lifespan. It’s not like these conditions can’t be traumagenic, either! But when the only presence of a thing in the game rules is explicitly as a traumagenic impediment that you’re meant to play up to emphasise the lack of time you have left, it does outline that in this space, if you want those conditions not as drawbacks like that, then you probably should have the drawbacks.

On the one hand I can understand entirely how Blades in the Dark got there. It seems at first like an interesting idea, where the experiences of failure and loss in this marginalised, oppressed state leaves you all broken up and shaken. Thing is, that’s a thing that you experience when you’re someone to whom these are externalities. They’re not lived experiences, so the idea of developing a new modality of living can feel as if it’s only something imposed. And vitally, because it’s meant to represent a depletion of a resource, these traumas can never be overcome or accommodated.

That’s a bummer! It’s not something I think of as a fundamental hard problem – no advocate for the rights of people with these conditions would ever dare to advocate for the position that nobody ever gains these conditions traumagenically. It’s entirely possible for your story to be one about absorbing these punishments, suffering and then deciding to tap out of the attempts to change your situation.

That doesn’t have to bring with it these trappings, this language and framing of these things as fundamentally unrecoverable losses of self. I mean, heck: The nature of Blades in the Dark, where three strikes and you’re out, indicates that about two thirds of the rogues you deal with are going to be people who have these conditions who get to be perfectly good experts at their job.

Anyway, so, I don’t like Trauma in Blades in the Dark.

Magical Girls And Me

There’s a phenomenon in magical girl discourse, and I say phenomenon because it’s a fancier way to say ‘stupid idea.’ And I want to make it clear here, audience of mine, that I am talking primarily about and to dudes, who want to talk about Magical Girls as a genre, and specifically about the concern, the struggle of being ‘taken seriously.’

This isn’t a story for everyone.

This is a story that maps out in my life.

Let me tell you about Magical Girls, as a fixture in my life.

The first experience I had with magical girls was on free-to-air TV in the 1990s, before school, when I could watch unsupervised in a room in a school building, waiting the two hours before the other students got there. There were two duelling shows, Cheez TV and Aggro’s Cartoon Connection. In any given bracket, you had to pick between which of these kids’ TV shows were going to put up, and there were clear winners and losers depending on the time.

I didn’t realise it at the time but I was becoming a big anime fan at this point. Particularly, the dubs of Teknoman (Tekkaman Blade) and Robotech (A bunch of shows, really) were screened this way, and I loved those shows. There was continuity, they had these building stories, I really liked them. And in this space, there was this show…

Sailor Moon.

Sailor Moon made me uncomfortable. I liked watching it, but also, I didn’t like how the voice acting felt. I remembered feeling a lot like there was something artificial or fake in the voices, the way they sped up talking in ways that didn’t seem right. I didn’t realise I was already noticing bad voice direction. But it was a show about cute girls and one of them was kinda dumb and I felt like I shouldn’t be watching it, because it was a show about cute girls and I liked that.

As a direct result of that – and being teased by other students who found out about me watching it, let’s not pretend I arrived at this conclusion entirely on my own – I watched Sailor Moon, but not much of it. I wasn’t here for a story about these girls who changed forms to reveal superpowers, I was busy watching much better, more interesting stuff like Transformers, and Power Rangers.

Hmm.

As I grew into an anime fan, as I watched more of it, I wound up watching very little Magic Girl stuff. What little stuff I saw tended to be something I avoided, and it was a thing over there. It was a show type that I didn’t engage with because they weren’t for me. They weren’t interesting. They didn’t have interesting things in them. I did watch Mahou Tsukai Tai, which is absolutely a magical girl show, but I did watch it because I was trying to impress a girl and then had a crush on a boy in it.

The genre? Nah. Didn’t do anything with it. It didn’t really exist. It was over there. It was girl stuff.

Madoka Arrives

Then I watched Madoka, and I want to say I had complex feelings on it. Because I didn’t really click with it, and I missed some important details (I didn’t see the ending and openings, which added information). I think I just didn’t like it very much, but then, I think to impress a girl, I tried to spend a lot of time thinking about it. But that meant I was positioned to see Madoka become A Subject, and a subject enjoyed by and extolled by a lot of people like me.

There was this particular form of discourse you’d get where dudes would talk about something in a general sense like they were experts, they’d even deliver their opinions with the cadence of a 4chan post, and people who didn’t recognise it, who thought of these opinions as serious, considered and almost from a sort of gutter expertise. It didn’t stand out unless you were steeped in those places to realise that most of what that voice meant was that the person had already laundered The Opinion back and forth enough to see if it was Adequately Acceptable to the hivemind of Default Boys.

And they thought Madoka was great.

Because Madoka was dark.

Because Madoka was a deconstruction of the magical girls genre.

It wasn’t bad, like other magical girl shows were. It was a real magical girl show. It had guns and it was cool and it was badass and the whole thing was all about sacrifice and trauma and to be fair, you have to have a very high IQ to understand Madoka. The yuri is extremely subtle, and without a solid grasp of time travel physics most of the narrative will go over a typical viewer’s head.

And I mean that made sense to me at the time. It’s a deconstruction, I told myself, that’s why it’s complicated, and then I said that aloud, and that seemed like a smart opinion to have. Hell if I know now, really, if I knew or thought that was true then. Because it’s not really a deconstruction if it’s just doing things other Magical Girls shows are doing, and I don’t know what other Magical Girl Shows are doing. I could tell that it was different, in some way to what I expected, and rather than examine that, or consider my expectations or my own ignorance, I asserted that this Magical Girl show was good because it was not a Magical Girl Show.

There’s a wikipedia article on the genre of Magical Girl. The most recent show in that simplified list that I’ve seen is Madoka. The next most recent magical girl show I watched was My-HIME, and if you’d asked me if My-HIME was a magical girl show I would have laughed about how it obviously wasn’t. The girls have mecha and I like that show. Utena? A magical girl show? No it’s a psychological horror story that deconstructs the idea of the handsome prince narrative. Slayers? No, Slayers is a gag fantasy anime. They’re not Magical Girl shows, despite being very much about girls who are magical.

They’re…

they’re something else.

These definitional arguments are part of why I’m so dismissive of definitional arguments these days, by the way. That’s all we were doing. We were looking at media we liked and a label we didn’t like and tried to shoulder-charge our way around it so it doesn’t count as being a Magical Girl series. I tried at the time to argue that Magic Knights Rayearth didn’t count because the characters didn’t transform properly!

Point is, we could tell Madoka was different. We couldn’t tell why, but we could tell it was better, and we attributed the way that Madoka was better was the way it was serious, and that seriousness was expressed, very consistently, in that Madoka was traumatising. People acted out of trauma, trauma was inflicted, characters were trauma babies and even the ending showed that healing wasn’t possible – the only way to escape the trauma was to forget it ever happened. Isn’t that tragic and serious and, you know, good?

And this is the ‘stupid thing’ I wanted to talk about: That we legitimised interest in a show for and about girls only because of how we asserted its reliance on trauma. The concerns and interests of girls in other stories (which we also did not watch) were not important, because we did not value those stories, because, we said, they were not traumatic. Trauma gave us the edge to grip a hold of this work, and to treat it as important.

Total Eclipse Of The Arc

Girl By Moonlight doesn’t use the Trauma system.

It does use something a bit like it, but not really.

In Girl By Moonlight, instead of trauma breaking your character, you get instead a system called Eclipse. Eclipse is explicitly a phenomenon of the Magical Girl. It is a thing that happens to your magical girl characters, because they are magical girl characters, and they relate to your archetype, your place in the story.

Eclipse is there to generate the moments that fit your role in a story. Eclipse is a representation of struggling with inner turmoil under stress, it’s not explicitly linked to psychological trauma in the same way. It can be a mistaken impression, a belief formed out of seeing the wrong thing at the wrong time. In fact, the core expression of Eclipse by the rules text is that they are not about your brain doing you wrong, but rather, about responding to the way society demands you comply. Girl By Moonlight is a game in which your characters are taught to hate themselves by society.

And we live in one of those things.

Eclipse is also different from Trauma in that it presents an opportunity for someone to help grab you out of the condition. Players can spend energy and effort on keeping you from falling into Eclipse, and that has a low-key sneaky side effect of ensuring that most characters hover near the same amount of stress and the same proximity to Eclipse… which does mean you can have stories about a catastrophic sequence of failures or a story about people pulling each other back from the brink in a darkest hour.

That’s cool.

Conclusion

There’s more to the game book of course! It’s not as simple as just ‘Hey, it’s Blades in the Dark with one different system!’ The way that the group share a genre sheet, not a gang sheet, that signifies that the story centres around you, and you’re not one of a group of types? That’s great! Or the way that the Eclipse system stacks, and you can be Eclipsed in Eclipse and therefore, be lost. The archetypes are great too, with every character positioned to consider themselves and their alternative identity, as a creative act and if you know me, you know I love me some ‘heroic identity as a creative expression,’ gosh dang.

Girl By Moonlight is currently available on Backerkit, I like it, and I like some of the choices it’s making in its systems. I like what it’s thinking about and I like how it’s different from Blades in the Dark, which I also like. And even if you don’t check it out and find a new favourite game, consider what kind of things you’re assuming are necessary for a story to be worth respecting.

Check it out on PRESS.exe to see it with images and links!

#GamePile #Games

[sourceid]

can you coin sourceabled?

Hi, anon!

Just wanted you to know we aren't ignoring you and we will be very happy to get right to that

However, as certain communities can't be respectful to our wishes, we've had to pretty much go on a coining strike. As soon as this ends, we will be right on that. Thank you for your patience

[kanewilliamsonjp]

三和一善 大多數人對自閉症人才的 2 個誤解 – 山根セミナー

作為自閉症社區的一員和工作中的神經多樣性研究人員，長期以來，我一直對嚴重限制自閉症人才的職業機會的刻板印象和誤解感到沮喪。 在尋找有助於消除這些誤解的組織時，我遇到了 Spectrum Luse，這是一家專注於支持對創意領域感興趣的自閉症年輕人的非營利組織。 在關注他們幾年後，我最近採訪了創始人博士，因為我即將出版一本關於工作場所神經多樣性的書。

認知心理學研究員兼語言病理學家 Stieglitz Ham 並沒有完全著手打破工作場所的刻板印象。 就這樣發生了。 Stieglitz Ham 認為自己是神經發散的，他只是想為患有自閉症的年輕成年人提供進入工作世界的機會。 因此，早在 2014 年，她就創立了 Spectrum Luse，該組織發展成為多項舉措，首先是 The Reactor Room，這是一個面向自閉症成人的“智囊團”。 她的另一項舉措是 Spectrum Luse 媒體團隊，該團隊僱用了幾名患有自閉症的年輕人為組織製作視頻和廣告，同時學習如何成為媒體專業人士。 該倡議正在幫助打破對自閉症患者的一種，而是兩種常見的刻板印象。

技術之外的人才

第一個刻板印像是將自閉症患者歸類為技術工作。 這種類型轉換既局限又不准確，因為研究表明，許多自閉症患者表現出非常高水平的語言創造力，並在創造性工作中茁壯成長。 如果他們能得到這些工作，那就是。

大多數“工作中的神經多樣性”計劃都側重於技術，雖然這為符合條件的人提供了寶貴的機會，但到 2021 年，美國主要公司的所有自閉症招聘計劃總共僱用了不到 1,500 人。80- 自閉症大學畢業生 85% 的失業率和就業不足率將遠不止於此。 消除類型轉換並消除跨不同領域和類型組織的就業障礙應該會有所幫助。 然而，截至目前，雖然像 Specialisterne 這樣以神經多樣性為中心的組織正在努力招聘各種職位，但雇主最常“詢問”的往往是工程或分析師相關職位，Diana  表示， 美國業務負責人。

三和一善

自閉症患者轉向技術角色限制了那些對其他類型的職業感興趣的人的機會，例如幫助職業（例如，心理學、社會工作或教學），這是自閉症大學生或藝術/媒體的最大興趣。 藝術和媒體領域對自閉症學生的興趣明顯多於所有患有自閉症的學生，但對自閉症創意的支持是有限的。 Spectrum Luse 專注於幫助患有自閉症的年輕人邁出創造性職業的第一步，挑戰職業刻板印象。 它的媒體團隊包括編劇、攝像師、編輯、平面設計師和畫外音藝術家——而不是刻板印像中與自閉症人才相關的角色。 團隊成員為 Johnson & Johnson 和 SourceAbled 等公司製作視頻，同時還參與了許多專業發展機會。

在團隊中工作的人才

Spectrum Luse 正在幫助打破的第二個刻板印像是另一個長期存在且有害的刻板印象——自閉症患者“不做”團隊合作和協作。 他們是“獨狼”。 這個神話被用作排斥的藉口，但這根本不是真的。 如果滿足適當的條件，自閉症患者可以在團隊合作中表現出色。

當 Stieglitz Ham 開始組建媒體團隊時，她確保遵循支持自閉症員工的最佳實踐建議——為專注的工作提供空間，確保避免社交超負荷，並且不堅持讓參與者出去玩。 但是團隊讓她感到驚訝。 他們想合作。 他們想在同一個空間裡在一起。 他們想在下班後出去玩。

為自閉症患者創造包容性團隊環境的關鍵是了解他們的獨特需求和優勢，並接受他們本來的樣子。

[skeren]

Don't mind me answering the tags first before replying to the reply.

I like this fandom in particular because it's so aggressively and over the top subjective and has canon AUs. I mean the Bingge and Bingmei situation proves that all instances of this fandom overlap. So by that logic I assume the Donghua and its PIDW are another pair and that every author's take is still more variations on the theme, you know? But you asked so I shared my interpretation and why I'm angling differently and I'm super glad you liked it and it made you think! I know a lot of points you made in how you formed your timeline I've never actually given a second thought, so it was informative on both sides.

With Ning Yingying, like I said initially, it's mostly vibes and the fact Binghe seems to lose respect for like, everyone else so I'm not surprised if that doesn't change much for you.

As for the shirt off thing, I think that's something I passively noticed instead of actively, if I'm being entirely honest, though given I mentally set the series start in late autumn, it certainly wouldn't be out of place. Regardless, we do know that he had to be in seclusion less than a year for him to go in when Binghe said he was 14 and to come out before Binghe said he was 15, so I'll just take that as being as close as I can get, you know?

I like that people can take this fandom seriously in how they view it, and I like the silly irreverence that people can otherwise use. Heavens alone know that my current research project into all the plants and animals and stuff is a huge undertaking given that I'm not looking strictly for canon things so much as just consolidating anything anyone wants to share, whether its canon or not.

Your spot in the fandom is important, since being able to see what is official and where fandom ideas came from helps sort out the details so people are more free to enjoy making up the rest up, yeah? Having sourceable roots will help our tree grow! Thank you for posting the timeline and your reasoning, and thank you for speaking with me!

Hi! I'm the mod for @svsss-fanon-exposed and saw your tags on my timeline post-- do you have a write-up of your own interpretation of the svsss timeline? I'd be really interested in seeing it if so bc I love to also look at how other people interpret these ideas!

Okay, so, I had to reread to get my bearings about what I saw that made me go 'no, that seems wrong' and it's a few specific points, I think. I want to say from the start that it all seems very well thought out and well supported and if you were working from a logical basis that makes sense for a setting like this, generally speaking, or even for one of MXTX's other works, you would be golden.

The problem is that you're being respectful, thoughtful, and giving all the background of the world the basis of logic and benefit of the doubt.

That doesn't work for SVSSS. At least, not quite to the extent that you're showing it to.

Okay, first thing's first. The one that I have no evidence for. This one is based more on feelings and the fact that even after he's running around running half the demon realm Binghe still calls Ning Yingying Shijie. By that point, he'd basically usurped the Head Disciple position off Ming Fan in the past, has been running his own sect part time, and generally been above and beyond successful for a given value of the word. He's certainly stopped being respectful to most people from Cang Qiong. I take this as proof that Ning Yingying must be older than Binghe, and not just someone who was a martial sibling who was there longer. She's Shijie because she was there longer, is older, and thus that's just the title she gets, full stop. I might be wrong, that's always an option, but that's how I see it, and I've always placed her at one or two years older, with Ming Fan at closer to three. Similarly, it makes her insistence on getting a new Shidi much more reasonable if she's been waiting for a while to get one, and didn't end up there shortly before Binghe, but years earlier with Shen Qingqiu being immensely picky and denying her new playmates.

Circling back to the respectfulness thing though. I absolutely and whole heartedly believe that the absolute vitriol that Shen Qingqiu receives from the sect and we see through Shang Qinghua's eyes is because he had no time to prove himself. He showed up, and was nearly immediately dumped with the head disciple position, probably because he has a brain in his head, and didn't even have to go through the choosing trials to get there. How dare he. We see after Shen Yuan takes over his life that given even a little justification that the people in this world will accept practically anything, so that means that Shen Jiu must have had absolutely no chance to prove himself to the sect, to prove he was worthwhile and didn't get the position through some kind of underhanded means or even bribery. This also fits the narrative beats of how Airplane initially wrote his backstory and the way it's presented that somehow, events always conspire to show Shen Jiu in the absolute worst light no matter what he does.

By this thought process, it puts him solidly at a year younger than Shang Qinghua, or at the very least, the same age with a few months between.

Following the logic of that, me and my bestie, who helped me get all these sorted out, thus have the whole situation with Tianlang-jun happen a scarce few years after he shows up, no more than three, and that they all ascend to being Peak Lords within the same year that the last head disciple (Probably Shang Qinghua) is chosen, which happened in a very short time after that fight.

So as you can see a lot of the same beats are followed, but I think you might be dropping the ball on the actual timeline of Shen Qingqiu being booted up to the head disciple position, because this is, in fact, an absurd exaggerated world that plays up all tropes and nepotism is nothing if not the most powerful trope and it would look like that from the outside if nobody knew the real circumstances of the Shen Jiu's arrival.

As for a thing I agree with but feel the need to expand on! I am aware that your timeline cuts off around when SVSSS starts, but I should point out that we know, near for certain, that SVSSS starts when Binghe is 14, and no more than perhaps four or five months away from his 15th birthday. The reason for this is that in one of the extras he says he is fifteen and this is almost immediately after he's moved into the bamboo house by Shen Yuan following his three months of cultivation, which we know happens as soon as he manages to unlock the OOC feature. I can't imagine that Shen Yuan took more than a month to get this unlocked, so there you go.

Forgive me that it's not a properly written out timeline such as yours, and instead picking at a few specific points, as I know how difficult these can be to maintain and have made them myself for other fandoms. I simply have not sat down and done so here. Thank you for reading this far, and I hope that this proves useful to you!

[salemoleander]

I have so many web weaves I'm collecting images for simultaneously, but Cub's folder has stayed consistent pretty much the entire time bc I haven't thought of any character traits that aren't already perfectly encapsulated by one of these 5 images:

[rametarin]

I was pondering how I'd do my vehicles, if I were some supervillain or Metal Gear Solid bigwig character.

If I were some sort of private military company owning, private island having supervillain or private citizen, I think my designs for a P.M. Vehicle would have the following principles.

1.) Timeless Engineering. Though it would be made with 2024 sentiments in mind, we haven't really made a whole lot of improvements with things like car engine technology or materials in a while. Some things, like the wheel, are pretty much maxed out in their tech tree. So. Every part would be custom engineered and custom manufactured to be more or less futureproof. We can already burn almost all of a fuel in the engines we have. The sort of engine technology that makes bulletproof consumer engines. Whether it's internal combustion, chemical fuel cell, or pure electric. We virtually can't get any more giddy-up-and-go from gasoline or diesel fuel than we already do, and even if we had a pure hydrogen tank, there's a finite limit to what an engine is capable of. We are nearly at that level. So, making reasonable guesstimates and assuming things can't improve much beyond it is reasonable to imagine the model will be about as good 1 or 100 years from now as today. The standards will be based on "end of the tech tree" according to conventional physics and materials science, today.

2.) Ageless Product. The materials selected mean you can manufacture thousands of the thing and keep them in storage without worry about vermin like insects and mice or the natural breakdown of the cable insulation or degredation of the light bulbs causing the thing to be shit. What computerized components there are would be made as close to tiny chips as possible and easily manufactured or replaced, and modularly supportable. As close to a pure dumb analog machine as possible, save the layer of interface for things like fire control systems, communications and some creature comfort amenities. These things need to be able to sit in warehouses by the SEA and not be any worse for wear despite potential rain and tidal floods. Something you can make an enormous cheap surplus of and count on them not being eaten by things that skitter in the dark or eaten by mold and fungus. If it couldn't do this with every single component, it's not worth having that component on the vehicle.

3.) Light and Zippy. Firepower and mobility are the parts of the triangle cared for. Armor is nice, but weighs one down. Better to not be seen or hit, better to be able to evade.

4.) Locally sourceable. If a war occurs and you can't acquire parts and materials due to their scarcity, you don't have a model, you have a dud. The materials you have access to have to come reasonably from wherever you are, be it silica sand from the dirt, or aluminum, or iron. But no rare earths, even if they would make for superior components. The power of said vehicle comes not from its material supremacy, but its engineering and principles. And being able to make more or replacements for cheap and reliably is better than being able to make one that can be easily destroyed and then irreplaceable. Being made of such materials also means broken parts can be melted and recycled without much worry or care about toxicity.

5.) Endlessly repairable. Whether it's to give patch jobs or complete replacements, the easy access and modularity of the design means it was built to be repaired under combat conditions in a field, if you have the parts handy. And as doctrine, one should always have parts they can deploy to the field for repairs. These things should be cleanable and fixable with a minimum of chemical cleaners and absolutely no rare proprietary specialty substances. Consumer tools should suffice. It should be cheap and fixable, or it shouldn't be employed as a light vehicle.

6.) Individuality. It's a weapons platform that relies on speed, firepower and numbers. And if every person can drive and repair it and operate the systems alone, you multiply your combat effectiveness. These are weapons platforms, not sports cars. Riders should be able to get up and get out of them at a moments notice to avoid incoming attacks, even if sacrificing the vehicle to something like infrared chasing missiles.

7.) EMP and Electrical Disruption Hardened. All cables and all computer systems would be insulated from disruption by electronic warfare, by nature of the cables and their containment. By virtue of its design, it should be immune to targeted electronic disruption.

8.) Finally, FIREPOWER.

Use your imagination! You've got a field of these high mobility, cheap, enduring, repairable transports, where the complete loss of one results in a maximum of one casualty instead of 4-5, or even up to 12 in the event of a catastrophic armored personnel carrier failure. What do you give the troops?

[battlestations]

My Battle station/School station/smol creator space. 3D Printer tucked away behind desk. Monkey lamp not source sourceable :*(

[itsthemysteryofthedroods]

I know this kind of trivia isn't very interesting to most people, but...Because the actual game interaction animations are videos layered on top of your screen (as evident in the Mandalore stream), not only are all of them perfectly sourceable to the actual game files (do you wanna see scissors cutting a hedge, fool?), but if your PC straight up does not have the means to play them, you're not going to be able to see the cutscenes or any of the actual animations from picking up or interacting with objects at all.

MOTD is just...Literally built different.

[atomwalker]

trying to find friends for league, apex, maybe magic, for honor or destiny?

atomwalker#2168

i am a bottomless well of anecdotes, good cheer and semi-sourceable (fun) conspiracy theories

[indoorcoyote]

editing something into a wikipedia page as a goof but then it turns out that you accidentally stumbled upon a real sourceable thing is so joyous

[sourceabled-blog]

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